“I remember Koko saying she wanted something where she could pass it down, generation after generation,” he said.

“You know, Corey bought me for Christmas a couple of years ago this really beautiful little diamond ring that you could put on any finger,” suggested Jenner, 62, before gushing: “You know, until you get that really huge diamond that’s going to go on on her ring finger!”

While the new mom has mostly avoided publicly discussing the scandal, she addressed it on social media last month while responding to speculation that she and Thompson were talking about getting married. In a comment, she denied the rumor and responded to an Instagram user who accused her of “acting like Tristan didn’t cheat.”

“I’m not acting as if Tristan didn’t cheat,” she wrote. “I’m saying the story about marriage and anyone insinuating they know what we speak about privately is ‘crap.’ ”

“Khloé has seemed emotional,” said the source. “Her feelings about Tristan cheating is something that she is still dealing with. She has good weeks when she is fine about it and weeks when she is upset about it.”

“It’s of course difficult to trust someone 100 percent who cheated days before he was about to become a dad,” the source continued. “Khloé still struggles with this sometimes.”

A second source told PEOPLE that Kardashian often feels “overwhelmed or exhausted,” in part because of the current season of her family’s reality show.

“Khloé has every reason to occasionally feel ,” said the source. “She’s a new mom, a first-time mom, and her TV show is currently replaying one of the most emotional times in her life. It’s a lot.”

“There no one thing that is particularly going haywire or posing a problem right now,” explained the source. “It’s just that she, like everyone else, has moments where she feels tired, she feels overwhelmed … completely depleted. She rarely gives herself a break and she’s constantly trying to be the best mom, best sister, best daughter, best at everything, and sure, she sometimes has moments like anyone else where she feels like she’s pushed herself too far. She’s human.”

The Keeping Up with the Kardashians reality star, 34, shared a selfie Snapchat video of the NBA star, 27, kissing her inside a nightclub as they danced to a remix of Bomba Estéreo’s “To My Love.”

Kardashian and Thompson’s reunion comes one night after he was noticeably absent from Kylie’s milestone bash in Los Angeles where the youngest KarJenner family member celebrated with sisters Khloé, Kourtney, Kim Kardashian and Kendall Jenner as well as momager Kris.

On Friday, the Cleveland Cavaliers power forward was in his home city of Toronto where he was attending a charity event in honor of his younger brother Amari, who suffers from epilepsy.

“He has really stepped up,” the KUWTK insider said about how the pair’s relationship is in a good place. “He keeps showing a lot of commitment to Khloé. He wants them to be a happy family,” the source explained, adding that they “are still doing therapy.”

The insider also shared, “Tristan initially resisted therapy but has realized how important it is for Khloé. He is finally realizing how much he hurt Khloé. He wants Khloé to be happy with him, so he is really trying to be the best person that he can be.”

Khloé Kardashian and Tristan Thompson stepped out for dinner at Nobu Malibu on Monday. The couple was all smiles as they were spotted arriving at the restaurant, joined by Thompson’s former teammate LeBron James and his wife Savannah.

Kardashian, 34, and Thompson, 27, kept their looks casual for the night, with the reality star rocking a bomber jacket with grey leggings and heeled booties. Meanwhile, the NBA player dressed down in a white hoodie and pink sweatpants.

Thompson later took to Snapchat to document his ride home with Kardashian, sharing sweet videos of him serenading her while she smiled at the camera.

In one clip, he’s seen giving his girlfriend a kiss.

Kardashian and Thompson welcomed their first child together, daughter True, on April 16, just days after allegations surfaced that he had cheated on her throughout her pregnancy.

“Tristan is spending time with her family,” a source recently told PEOPLE, adding that they “have jokingly been giving him a bit of a hard time. Like, ‘we are watching you!’ ”

“But otherwise, everyone is being respectful and focusing on catching up with Khloé,” continued the source. “She is so happy being a mom. Everyone just wants her to stay in this happy bubble for as long as possible.”

“I’m very grateful because Tristan is being a great daddy and he has done all the feedings while I’ve been gone,” she said on Snapchat last week during her first day back on the job at her brand Good American.

“Shout out to all the good dads out there,” she said of the Cleveland Cavaliers power forward, who is also dad to 18-month-old son Prince from his previous relationship with Jordan Craig.

And according to the source, the new mom is “so excited” to be back on her home turf.

“Her sisters and friends decorated her house, and Khloé seems very happy,” said the source. “She can’t wait to show off True to her friends that haven’t met her before. And she can’t wait to spend time with Kris and her sisters.”

The reality star is due to give birth to her first child, a daughter, with boyfriend Tristan Thompson any day now — but the joyful occasion has been tainted by accusations that the NBA athlete has been unfaithful.

Still, the scandal “changes a lot of things, but it doesn’t change everything,” a family source tells PEOPLE. “It doesn’t change that Khloé has dreamed of becoming a mom, already loves her baby so much, and that soon her dream is going to come true.”

“She can’t wait to meet her little girl, can’t wait to hold her, and so for right now, the focus is just on getting to that day as safely and healthily as possible,” the source adds.

He is in Cleveland now and was booed as he took the court Wednesday night for the Cavaliers’ home game against the New York Knicks. The Cavs lost 98-110 to but are headed into the first round of the Eastern Conference against the Indiana Pacers.

While Walker started the company to provide shaving tools for the kind of bumps and irritation that are more prevalent among black men, Walker tells HuffPost that since expanding Bevel to retail customers he has noticed more diversity amongst its clientele, which now includes women.

“We’re noticing there are different people who purchase our products offline than online,” Walker said during an interview with The Huffington Post. “I’ve mentioned in the past, a lot of folks think Bevel is just shaving for black men, but we’ve never said that, and that’s never been our thinking. We’re trying to solve a very important issue that black men and women over-index on, but everyone has.”

Though a majority of Bevel’s online customers are black men, Walker went on to add that their offline demographic is slightly skewed from its target market.

“They’re white men,” he adds. “So it’s a really interesting kind of mix of folks who buy our product, and it hasn’t affected the way that we operate either our online or offline business as a result.”

Walker’s sharp attention to diversity and America’s census data has also resulted as a competitive advantage for the shaving startup. The Stanford University Graduate School of Business alum notes that a majority of the company’s employees includes people of color and women to mirror Bevel’s consumer base.

To that notion, Walker believes more health and beauty companies should make a concerted effort to tailor their personnel to reflect undeserved markets in America.

“You look at the larger companies elsewhere, they don’t look like or reflect the diversity of America. And they sure as hell don’t reflect the diversity of what America’s going to be like in 20 years,” he said. “This is incredibly important. So that’s how we approach it, and that’s how I hope and think everyone else should.”

As part of Bevel’s ambitions to become the industry’s leading brand for all things grooming, Walker said the company plans to release an additional line of skincare products for men and women with a range of skincare concerns, including hyper pigmentation.

“By [Nas] saying ‘My signature fade with the Bevel blade,’ everybody knows about Nas’ haircuts. So for him giving us the cosign and taking responsibility for his lineup, that’s significant,” he said. “It’s not only significant, it’s authentic. It makes sense. And also, his message is celebrating black business and empowerment and that’s something that we talk a lot about.”

Following the second World War, Olivier Messiaen, previously known primarily for his religious music, composed three works inspired by the medieval love story of Tristan and Iseult: Harawi, Turangalila-symphonie, and Cinq rechants. The three compositions are tied closely together by theme and musical technique. This new study is the only full-length consideration of this most significant work, applying literary techniques of stylistic analysis and source study as well as musical analysis of Messiaen’s aesthetics and form.

Tristan Prettyman’s initial singing and songwriting success has been attributed to her audience’s huge response to her sadness and heartache. Prettyman’s hit songs shared an authentic vulnerability in which listeners could relate.

So how will her fans identify with the jubilantly in love and now pregnant version of their Prettyman?

“At first I felt scared to be happy, then I felt guilty for being so happy, ” Prettyman shared with me. “Once I was able to accept that I deserve this joy with a good man I realized that my audience would hopefully relate to this part of my life experience, too.”

Prettyman expressed her willingness to share the ups and downs of her emotional life openly and honestly with her fans as the only way she can just be herself. Following her heart has been the story of Prettyman’s life.

A self-taught guitar player, by the time she entered college, Prettyman was encouraged by family and friends to play and share her music in her hometown of San Diego. She embraced her love of music and performing and moved fearlessly into the music world in her 20’s.

Whether it was her early years selling CD’s from a coffee cart, jumping at a chance to go on tour or getting engaged in 2014 to her now husband venture capitalist Bill Maris, Prettyman lives life wholeheartedly. Her life story seems to be a perfect combination of luck, timing and lots of hard work.

This next chapter of melding motherhood into her musical life is still a bit of a mystery to Prettyman. At age 33, (hubby’s 40) and always wanting a family, she is absolutely delighted to be pregnant. She thought that during her pregnancy (due in August- it’s a boy!) she would be bursting with creative ideas and spending days writing music. So far she has yet to write one note of music and lightheartedly confesses that perhaps all of her creative energy is momentarily being directed at baby making. This experience reaffirms Prettyman’s belief that music and creativity happens on its own–organically.

But just because she’s not creating new music doesn’t mean she’s not performing. Prettyman has been performing throughout her pregnancy and when I met her in May at BottleRock in Napa, California, the growing belly did not seem to slow her down or stifle her guitar playing.

“Being the best version of myself as a mother and role model for my son is important to me now,” she told me. “Writing music, singing and playing guitar has always fed my soul. My happiest times have always been when I am making music and I plan to continue to write and play and perform after the baby.”

Prettyman describes her life as a constant reminder to stay on one’s own timeline and stay true to whatever one’s heart desires. Just as her beginner dive into the world of music, Prettyman feels the same excitement now being pregnant for the first time and about to have a child. Prettyman wants to dispel any stereotype that as a woman she will leave her music career because she has children.

“While it is different for every woman, I want to honor the process as it comes, to slow down and be present and be in the moment and honor this special time. And perhaps write a lullaby or two for the new baby,” Prettyman said.

Late in the Kneehigh production of Tristan & Yseult, at St. Ann’s Warehouse, a character says, “It’s hard to keep things white.” She’s referring to how easily white apparel can be soiled, often by blood.

I’d been thinking the same thing, since my attending the evening performance of Tristan & Yseult, followed my presence at a matinee performance of Christopher Marlowe’s Tamburlaine, Parts I and II in the Theatre for a New Audience version, at the Polonsky Shakespeare Center. During the current run there, buckets of blood are being spilled daily.

And I mean the “buckets” reference literally. In this undertaking, a young boy carrying a bucket often arrives to pour (stage) blood over yet another of the marauding Tamburlaine’s victims. The soakings happen so often to any of the characters who unwisely choose to wear white that I’d made a note about it.

“Anything white,” I’d written, and that’s even before a figure in modern dress — a suit, tie and white shirt — showed up late in proceedings, where otherwise Tom Piper’s costumes were armor-era specific. Was the contemporary get-up intended as a reminder that such things go on today? Never mind. It’s just that before long the pristine white shirt was, you guessed it, covered with blood.

Director Michael Boyd has conflated Marlowe’s plays into one three-hour treatment interrupted by a single half-hour intermission. A patron can’t help thinking the interval is that long in order to afford stagehands time to wipe up the blood spilled in the first half. After all, in the second act so much more will drench the floor and the long transparent plastic curtain hung at the back of the thrust stage that another intense cleaning will be necessary.

Let’s just say director-editor Boyd has the courage of his theatrical convictions. Wars are marked and marred by bloodshed, and he’s out to get that across as graphically as he can. Keep in mind that Boyd headed the Royal Shakespeare Company from 2002 to 2012 and during his reign offered Shakespeare’s history plays at Stratford-upon-Avon and North London’s Roundhouse in some of the most stunning productions I’ve ever seen.

So, not so much despite the bloodbath on view here as because of it, he’s perpetuated another stunner in this Tamburlaine. It’s a must-see for anyone interested in what a top-flight director can do with a two-part classic that few directors even want to take on. Certainly, the works don’t often show up on these shores.

One reason for the infrequent appearance is that while the plays are bold and shocking, they’re not multi-dimensional. The brilliant Marlowe (1564-1593) was only 23 when they were first presented in 1587. They’re a young man’s flights of fancy. You might say they’re full of sound and fury but signifying if not nothing, then not a great deal of emotional depth.

In the course of the two parts, Tamburlaine (John Douglas Thompson) begins by abducting Zenocrate (Merritt Janson), who’s meant to be another’s bride, before he sets out to depose every monarch ruling in a wide swath around the eastern end of the Mediterranean. On he goes trampling over everything and everyone in his path through the Ottoman Empire, Persia and Central Asia. Before he’s finished in this outing, he’s perched atop a carriage that contains a lower cage heaped with gold crowns.

To say Marlowe is repetitious only suggests the problem. On the other hand, the iambic pentameter in which Tamburlaine expresses himself is mesmerizing. The crude warrior definitely has the gift of gorgeous gab. As he approaches each realm he plans to conquer, he addresses the rulers he’s about to bloody with irresistible rhetoric. He’s even high-toned when insisting that Calyphas (James Udom), the eldest of his three sons, is cowardly and deserves to be done in.

Marlowe’s Tamburlaine is so infallibly victorious — with percussionist Arthur Solari, in a niche above the stage, accompanying his destructive path with unceasing cacophony — that he meets no foe worthy of him. He’s only vanquished at last by illness. When onlookers are longing to see him get a comeuppance, this demise feels like a cheat. But apparently Elizabethan audiences were thrilled with it just as it is.

The imposing Thompson, who’s become one of today’s most accomplished classical actors, is astonishing for both stamina and declaratory prowess. How does any actor remember the order in which Tamburlaine’s speeches go, let alone memorize them? Thompson has no problem with his myriad lines.

Many of the other cast members, all doing Boyd proud, take on several roles. This means that Saxon Palmer, for one, gets to be bloodied again and again. After a while, the bloodstained actors become a metaphor for Marlowe repeating himself. More than that, the violence in Tamburlaine takes on the air of Marlowe’s foreseeing his own death. When he was 29, he was slain in a barroom brawl.

Listening to this bard’s poetry throughout the Tamburlaine parts and aware that Shakespeare and Marlowe were great pals and influences on each other, anyone might entertain the thought that had Marlowe lived longer, his output as he and friend Will continued to challenge each other, would likely have been more memorable than his still exciting Tamburlaine dramas.
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The blood in Kneehigh’s Tristan & Yseult is less than what’s in Tamburlaine Parts I and II and is stylized. Emma Rice, the company founder and adapter here of the Cornish myth — with writers Carl Grose and Anna Maria Murphy — has something other than seeing red about which she wants to discourse.

Like Boyd, she’s greatly theatrical with the matter. On a Bill Mitchell set that conjures a one-ring circus, she begins by having Yseult (Hannah Vassallo) and her French-speaking Tristan (Dominic Marsh) enjoy their infatuation, despite Yseult’s obligation to older, less buff King Mark (Mike Shepherd). In one sequence, the young lovers swing from separate ropes in giddy infatuation.

Their fun is augmented by a good deal of cast buffoonery, so much so that before the first-act ends, the goofiness has become attenuated. The cuteness, which is narrated by a character identified as Whitehands (Kirsty Woodward, in an Igor Cassini-like suit, pillbox hat and gloves), goes on too long.

This isn’t to say the clowning by Niall Ashdown as Yseult’s nurse Brangian, Damon Daunno as King Mark’s right-hand man Frocin, along with Robert Lukay and Tom Jackson Greaves doesn’t continue to amuse, often as they scamper about in knitted hoods reminiscent of chain-mail head coverings.

The second Tristan & Yseult act is when Rice comes to her deliberate point. Whitehands has been talking about her place among the unloved. A neon sign above the set reads “The Club of the Unloved.” (The band on an upper level plays, among other songs of love-gone-wrong, “Perfidia” and “Love Hurts.”)

The message Rice forcibly wants to stress is that the passion shared by Tristan and Yseult isn’t available to everyone, is perhaps available only to the few. Others, like Whitehands, may witness it but never get to share in it. They’re condemned to one-sided romances. The white-gloved woman asks, “What becomes of so much wasted love?” While she’s imploring, Richard Wagner’s “Liebestod” roils, an homage to the Tristan-Yseult devotion, even if their love has been consummated but not fully requited.

Love both requited and un- is apparently an abiding theme for Rice, whose inventive Brief Encounter pastiche is what first earned her and Kneehigh stateside praise. (How personal a condition is unsatisfying love for Rice, a spectator could wonder?) Again in her Brief Encounter and against musical underscoring — Rachmaninoff, as Noel Coward used in his film — a pair of lovers have a short-lived but all-encompassing affair.

So at this point Rice, like Marlowe, has two companion parts. It’ll be interesting to see if she comes up with another to complete a love trilogy. Maybe Rice fans can second-guess her by combing through accounts of lovers who live out their mutual feelings while classical music throbs away in the background.Arts – The Huffington Post
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